Informed by such measurements, the artist can paint what the eye sees without the use of conventional perspective.

This seems to be contradictory to conventional perspectives.

Shifting away from the conventional perspective is precisely what the historians and anthropologists like Professor Shoemaker are trying to do.

Seen in conventional perspective, the table vies with the one-dimensional vertical ground of wall and floor against which it is placed.

The artist hadn't got the hang of conventional perspective, but there was no doubt that he'd tried to paint hundreds of little legs.

Both painters take slight liberties with conventional perspective; that is to say, in their canvases the angles of vision are no longer completely consistent.

Those other works might be collectible-something you can hang on the wall-but that's just a conventional perspective.

The People Factory (1965) is an early example of Ruckle's work using conventional perspective.

Such empirical measurements enable an artist to paint what the eye sees without the use of conventional perspective.

Tipping, unpredictable angles of sight also challenge conventional perspective and raise questions about where the viewer stands in relation to the scene.